Tag Archives: template

I know I always underestimate how long it will take me to complete a project, but we’re talking whole new levels with the La Passacaglia quilt. (If you don’t know what quilt I’m talking about, check out my earlier post here.) I worked on it with all my free time last week and only made it through three rings on the first rosette. Now I am finally FINISHED… with the first rosette of many, haha. Here’s my first blue & orange rosette:

It’s big! It takes up an entire café table. The photo below was taken earlier in the afternoon, when I thought I was finished. Then I noticed my error and had to re-sew a section. Can you spot the issue? The lighting was much better for the mix-up than the final version. Bummer!

In case you’re curious, here’s the back side of my La Passacaglia.

I also came up with another fun technique for fussy cutting. In my last post, I described using a wet erase pen on acrylic templates to ensure multiple cuts of fabric have an identical pattern. It worked pretty well. But I thought to myself, If I could just copy the fabric pattern and somehow see through it, I could line things up, and there wouldn’t be the user error of my not marking perfectly or accidentally lifting half the marker off the acrylic with my fingers. That’s when I came up with what might be an even BETTER idea than the wet erase/acrylic method!

Did you have a math class in the 1990s? If so, you might remember your teacher standing at the overhead projector, using his/her wet erase marker to complete math problems that were photocopied onto a transparency sheet. Those transparency sheets are still available for sale, believe it or not. (I got mine here; no affiliation.) I just put my fabric in a copy machine, inserted a transparency sheet, and hit copy at 100%. Do make sure the scale of your copier is correct by lining up the transparency over the fabric after copying the first print.

Fabric and transparency side-by-side, but one is backward (also, reflective surfaces are difficult to photograph)

I photocopied onto paper before using the paper copies to make transparency sheets. I wanted to be sure I got all the important elements on a single sheet first. The paper copy made it easy to try multiple configurations and to test the repeat pattern before cutting into the transparency sheet. For this part, I skipped the seam allowance to see what the finished pieces would look like. When you’re happy with the selection, you can use an acrylic template to cut around the transparency version, then double-stick tape the transparency to the acrylic. From there, just line it up over the fabric to make multiple, identical cuts. What could be easier?! (Reminder: Be sure to include the seam allowance here, even if you skipped it for the step above.)

Of course, this doesn’t work if you don’t have access to a copier, but if you do… BAM! You’re welcome. This method (photocopying fabric onto either paper or transparency) also makes it easy to see whether two images on the fabric are too close together to get separate cuts. (Be sure to include seam allowances.)

You could also use washi tape on the bottom of an acrylic template to hide seam allowances and really see what portion of the fabric will show on the final piece. (You don’t need to see that the outer edges line up with the fabric because you can already see through the transparency!) My first passacaglia rosette was made before I thought of the photocopy/transparency method. I am confident my next few rosettes will be even better! I’ve already started on my second.

I mentioned in my QuiltCon blog post that I intend to begin a La Passacaglia quilt. Naturally, I’ve begun with more research than can help me actually do the work and make the quilt. I thought I’d summarize some things for anyone else who wants to do this project because it is blowing up all over the interwebs!

THE BOOK THAT STARTED THE CRAZE

First, we’re talking about the La Passacaglia Quilt pattern from the book Millefiori Quilts, which features 19 of Willyne Hammerstein’s quilts.

All that Italian actually does a great job of describing the style: millefiori is a combination of the words “mille” (thousand) and “fiori” (flowers). Certainly the concept of a thousand flowers applies to the La Passacaglia, which has many rosettes/flowers making up the quilt. Passacaglia comes from the Spanish “pasar” (to walk) and “calle” (street). Think walking or dancing down the street—perfectly appropriate if you imagine winding, cobbled lanes and compare that against the many curves in the quilt.

Instructions in Millefiori Quilts are for machine piecing the quilts. However, if you’ve ever done a Y-seam, you can understand why a majority of people are choosing the English Paper Piecing (EPP) method instead.

I bought ALL THE THINGS to start this project from paperpieces.com. (UPDATE 2017: Since the link from paperpieces is no longer working, Karen of the DIY Addict was kind enough to send me a link to her site, where you can still buy the supplies!)

Items include the book, acrylic templates, and all the paper pieces necessary to make the quilt. I might have bought a smaller set of papers if I had it to do over again since you can just reuse them, but it’s nice not to have to. Between these items and the fabric, it’s probably going to be the most expensive quilt I’ll make… but have you seen how awesome it looks?! I’ve also seen acrylics on Etsy that have holes at the intersection of each seam allowance in case you want to machine piece and mark your Y-seams.LA PASSACAGLIA INFORMATION

The La Passacaglia Quilt includes approximately 2900 pieces in five different shapes/sizes as follows:

This info comes from the number of pieces in paper piecing packs, rather than the pattern itself. I was surprised not to see any hexagons and also that there were only five shapes for the entire, very busy quilt top.

EPP GENERAL INFORMATION

Cutting the Fabric

Standard EPP protocol is to add 3/8” of fabric around each side. Common alternatives are ¼” or ½”. Acrylic templates are available in each of these size preferences.

Measuring the Pieces

In EPP, most pieces are the same measurement along all sides. (An exception from the pieces above is the isoscolese triangle, which is equal on the two long sides but has a shorter “bottom” that matches the length of the pentagon sides.) EPP pieces are measured along one of the equal sides.

Basting Each Piece

There are several methods of basting EPP pieces.

One method is to sew around the shape. Even this has several different versions. In one version, you just tack the fabric along each corner of the piece. In another, you weave your thread along the length of fabric between each corner. I plan to do the first of these since that’s the method I learned in my EPP workshop with Katy Jones of imagingermonkey. And it’s faster and doesn’t mean ripping any paper at the end of the project.

Another method is to glue baste. Some glue pens are specifically made for gluing fabric; I have the Fons & Porter version. I’ve also read that a plain, washable glue stick works well. (It worked great when I glue basted a zipper on this bag.) I have been gluing some of the fussy cut fabric pieces lightly to the papers to keep them from shifting while I hand baste around the edges. It’s been working pretty great. So far, I’ve only used the glue pen, but I’ll likely switch to the Elmer’s when that runs out.

Creating Patterns from Fabric (and being consistent)

Solids are a great choice for EPP. However, one reason I’m excited about this project is a chance to make repeatable patterns from fabrics. I’ve mentioned BEFORE that while I like the look of a repeatable pattern across an entire quilt, I deplore the monotony of chain piecing. Now is my chance to let precision shine! By “fussy cutting” fabrics, you can highlight a portion of the design. It works great with florals/swirls. I’m also thinking about including a few Heather Ross novelty prints. If you don’t know where to start, Google Amy Butler, Tula Pink, and Anna Maria Horner prints to see fabrics with repeatable patterns.

The tricky part about fussy cutting is ensuring all the pieces are consistent. Florence of Flossie Teacakes had the genius idea to make her own plastic templates and draw with pencil the outline of her repeating fabric pieces. Modifying this concept, I have been using erasable marker on the acrylic templates I purchased. It is working great and wiping off cleanly.

Selecting the Right Thread

For the back of your EPP, you can use any thread you want. I still use Aurifil brand thread for this because it doesn’t break or tangle as easily as other threads, but since you aren’t relying on it to hold long-term, you can use anything that will last until you stitch your pieces together.

For stitching pieces together, some threads are less visible than others, so you can decide how “handmade” you want your EPP to look. A woman in my EPP workshop said she swears by silk thread for connecting pieces. Florence blogged about a polyester thread (Superior Threads brand, Bottom Line type – bought mine here) that piqued my interest.

I can’t tell whether I like it. I admit the end result is much prettier/less visible stitching, but the thread is kind of “bouncy” to sew with. When I pull the thread tight at the end of each stitch, it’s kind of like a bungee cord; it stretches longer than it seems it should, then bounces back to a resting position. So it feels weird to sew with but looks fantastic! I think I will continue to use it. I hope it’s durable when I’m putting so much time into one project! I’ll post photos of my first Passacaglia rosette when it’s finished so you can compare.

RESOURCES

Other bloggers who have written about the La Passacaglia quilt that I found inspirational (obviously not an exhaustive list) include:

I plan to make my La Passacaglia in blue and orange. It’s my favorite combination, and I found a crazy amount of inspiration from @elisabew’s Farmer’s Wife and blue & orange Marcelle Medallion quilts. I’m concerned the cogs might flow together a little bit, but Pinterest user Quilt Passion (Åsa Holmér) did a good job of distinguishing hers using only a blue and white palette. My quilt will have blue and orange AND white, so with a whole extra color, I should be fine… right?!

Well, I think that about covers EPP generally and La Passacaglia more specifically. There’s nothing left but to dive in. Which is exciting… but also a little unfortunate since the planning/research is my favorite part, aside from having a finished quilt to show off. Since it’s going to take me forever, I have a WIPs page (tab at the top of the blog) available so it is easy to track my progress on this and a few other long-term projects.

Although I was a day late on March’s block of the month, I now have both March and April finished! March was a mixing bowl:

April was a teapot:

Considering that the weekend I planned to work on the March block of the month was the WEEKEND I GOT ENGAGED, I’m not feeling too badly about my late finish! You can see my blocks for January and February here.

I felt like a rockstar last week when I completed all 49 blocks of my original 7 x 7 sampler quilt design:

It is decidedly more traditional than the quilts I’ve begun in the meantime.

In my original design, I included a border on either side to round out the queen-size requirements. I chose this over another row of blocks. But I’m not sure how well the quilt-as-you-go method would work for borders, and I also felt silly avoiding 7 blocks when I’ve already come so far. So… I have a new goal of 56 total blocks (design below).

Since I started working on the quilt in September, I typically completed either 4 blocks per week or absolutely 0 blocks. This means I completed about 7 blocks each month for 7 months. Of course, this includes the time spent graphing my blocks, cutting fabric, and all the preparatory work, plus the holidays and a death in the family where progress halted. Could it really take a whole ‘nother month to finish a portion of a project that I had nearly written off as complete?! On the other hand, I made room for some fun new blocks that I only discovered after cutting all the pieces for my original 49, so I am excited in spite of myself.

My sister’s dog, a pit bull, wanted to be sure he wasn’t missing dinnertime when he heard me moving around.

I chose “craftprowler” as a blog name because I never, ever thought I would be able to design my own projects. I figured I would just make minor alterations to the projects I found on Pinterest. However, I’ve spent a lot of time designing projects since the last time I posted photos. The burst of creativity feels amazing, but there is blessed little to show for my efforts so far!

I bought the notebook featured above at Target. It is responsible for maybe 30% of the projects I’ve designed so far. (Another 40% is Pinterest, and 30% is me.) The reason? It has gridlines, with heavier lines around every 8 boxes. It’s perfect for sketching out quilt ideas.

I haven’t gotten far with sewing the Marcelle Medallion quilt, but I selected all the fabrics and cut out the middle pieces already. This is the layout so far:

(Confession: I actually did start sewing the middle, but the Y-seams stopped me short. I am going home tonight to rip out some of the seams and try again. Apparently, marking is important. Oops! I like the pattern enough that this is the first time I won’t just plow forward with the awkward, first-try version.)

I’ve also drawn several more templates for my Barn Quilt, including this 1982 Buick LeSabre:

I drew a fox to grace either a purse or a pillow – haven’t decided just how to use it yet. Embroidery? Appliqué? Both are possibilities. If you want to use the image and end up making something before I do, please email to let me know! I’d love to see your projects.

After seeing some neat images at the Etsy store of cheesebeforebedtime, I tried doing a self-portrait with the intent to post it as my thumbnail here on the blog. The first result was embarrassing. The second definitely looks like a person, but not like me. Let’s just say it might take a few more tries before it’s worth posting online.

I have also been scheming the past few weeks about how to take better photos for my blog. A major issue is my work schedule. My evening commute is around 2 hours, so even if I get out at a decent time, there’s not much daylight left by the time I get home. The windows of my apartment also face directions/buildings that are not conducive to natural light. My new goal is to work on projects a week ahead of time so I can photograph them on weekends. (Disclaimer: Procrastination may still mean low-resolution iPhone photos.)

I paid to have both of the quilts I’ve pieced so far quilted for a variety of reasons: my domestic sewing machine is old , I didn’t want to bunch up the quilt under the arm, I was afraid I would ruin my patchwork by sewing crooked quilting lines, having someone else help was too inexpensive to pass up and a time-saver… But I wanted to take a new level of ownership with my sampler quilt. I wanted to do the piecing and the quilting. Plus, I wanted to highlight the shapes of some of the blocks with the quilting, and I thought it might seem lazy if I had someone else do it within such specific parameters. So I needed to learn about quilting.

Somewhere on Pinterest in the last year, I found an article that said rows of quilting should be 4-6″ apart. I am planning to use this quilt-as-you-go method with my sampler quilt, and I figured the 6″ guideline would be close to what I was planning. Some squares might be a little farther apart, some closer. Could it really be that big a deal? Having determined my quilting method, I promptly put the issue out of my head.

Now I have only a few of the 49 blocks left to piece. That means the time for quilting is almost upon me! Terrified, I revisited my previous research. I found this excellent article on Sew Mama, Sew! about the requirements for different types of batting. The article says most cotton battings (which I’d planned to use since I have leftovers from some baby quilts I made to practice) require quilting every 2-3″ because cotton shifts much more than polyester. That really doesn’t fit with the quilt blocks I made, which will be [about] 12″ finished.

My new plan is to use a blend: the Warm & Natural brand Amy suggests in her article. It was 50% off when I went to the store last week, and it says you can go 10 whole inches (!!) between quilting lines, so I bought 3 packages of queen-size batting. I plan to make my quilt 3 layers thick for extra warmth if I can manage it in my sewing machine. (For some reason, this makes me a nut job to other quilters.) The lady behind me in line at checkout couldn’t help telling me how amazing the brand is… and about the rag quilts she’s making for her granddaughters, one of whom is picky and a teenager. I love fabric outings where everyone wants to tell you about their current projects!

All that said, I wish I could use the batting I already own. My boyfriend (Johann) was funny the other day when he asked in a nonchalant way, “Oh, is this fabric new? It looks good…” He was quiet a minute, then added, “Didn’t patchwork quilts traditionally used to be made with leftover fabric from stuff like clothes?” Nuance is not normally his thing, so I found this endearing–not that it stopped me from buying 10 yards of fabric for the sashing and border. At this point, I figure I’m in so deep with fabrics and batting, I don’t want to ruin the whole thing by putting some ugly, low-thread-count sashing all over. I selected Moda’s Warm Memories in Chocolate Brown. I had an amazing afternoon looking at all of Moda’s fabric collections, past and present.

Embroidering – Barn Quilt

In the same way I have traditionally not quilted my own things because I was scared I’d ruin the patchwork, I was worried I would ruin a piece of embroidery I’m working on when it came time to add knots. I am making a tractor for my barn quilt, and I wanted to include rivets. Too many rivets. I’ll be a regular Rosie the Riveter by the time I finish!

French knots aren’t my thing. When I do them, they look floppy. Below are some French knots I did on the first quilt square I completed for the sampler quilt. They’re buttons on a coat. They’re ugly and really uneven.

Since the next-most-popular knot seems to be the colonial knot, I decided to try that for my tractor rivets. No practicing first, of course. (How often I have regretted this enthusiasm!) The finished product isn’t perfect, but it’s much better than the coat buttons!

I had read that colonial knots consist of figure eights around the needle (with the thread) and that you need both hands. That advice was useful on both counts. I used the graphic from this website to make the knots, and I pressed the knot against the fabric while pulling the thread through to keep the knots tight. Whew! Much more even than the embroidered coat buttons, which I have chosen to consider “charming” and homemade.

Another concern is the traced lines. Each block will be based on a photo from my childhood. Once I’ve finished drawing the template, I size it and trace it onto the fabric. (Wish I could freehand it, but let’s be serious.) I tried air-soluble ink, but that left me with NO LINES when I let the project sit for a few days. Not good. So I switched to water-soluble ink. I read that even water-soluble ink can dissipate in time due to humidity in the air. Since I don’t want to wash my quilt right away, even though the DMC floss I’m using is supposed to be color-safe, I am going to try to use the humidity concept to my advantage and take out the water-soluble lines with a steamer. Wish me luck!

Block Arranging – Sampler Quilt

While I don’t spend much time practicing the more critical techniques like knots or quilting, I spend all the time in the world drawing and computer imaging what the finished quilt will look like. I want to see the result well before the pieces are finished. Below is an image that shows where I started with my sampler quilt (a grid on two different-sized pieces of paper where I drew every quilt block I liked that didn’t have circles or applique or otherwise look too difficult) to where I was mid-stream (closer color approximations since I didn’t have the correct colored pencils when I did the drawing version) to how I expect the finished quilt to look with sashing, using a combination of finished block photos and computer images for blocks I’m still working on.